Page 36 - 2020 September 23 Himalyan and Southeast Asian Works of Art Bonhams

Despite the Khasa Malla kingdom being known to western scholars from historical records
by the mid-20th century, it was not until 1994 that the first artwork was securely attributed to
them. While researching an idiosyncratic gilt bronze goddess in the National Museum of Asian
Art, Washington D.C. (1986.23M), Ian Alsop discovered the kingdom being mentioned by name
in the inscription (see Alsop, “The Metal Sculpture of the Khasa Malla Kingdom” in Singer &
Denwood (eds.), Tibetan Art, Towards a Definition of Style, London, 1997, pp.68-79). Since
then a number of paintings and sculptures have been attributed to the Khasa Mallas, whose
enthusiastic Buddhist patronage gave rise to a distinctive sculptural tradition of marked quality.

The art of the Khasa Mallas took inspiration from its neighboring cultures, incorporating stylistic
elements from the Kathmandu Valley, West Tibet, and Pala India. As the Khasa Mallas had
close contact with the Newars in Kathmandu, influences from the Valley frequently prevail. For
example, the present figure’s sensuous modeling and broad countenance are characteristic
of the famed Newari ‘Standing Padmapanis’, such as one contemporaneous to the present
sculpture, held by the Rubin Museum of Art (fig.1; C2005.16.8).

Many stylistic details used to identify Khasa Malla bronzes are not exclusive to the kingdoms’
style, but their aggregation generally distinguishes them from other known artistic traditions.
One notable Khasa Malla feature absent from the present bronze is a detailing of the figure’s
knuckles. However, this bronze displays another strong Khasa Malla feature by the manner in
which the sash fanning out before the ankles is cast on the base rather than the figure. Other
typical characteristics are the base’s plain back and large beaded upper rim. In contrast to
the Rubin Padmapani (fig.1), the present bronze exhibits the Khasa Malla’s predilection for
fleshier faces and figures, further pronouncing the auspiciousness of a well-nourished being
unencumbered by the harsh realities of mortal existence. Relaxed and awaiting his messianic
charge, this perfectly cast apparition of The Future Buddha is a masterpiece of Khasa Malla
sculpture.

Provenance
Chino Roncoroni
Private Swiss Collection, acquired from the Paris Art Market, 2009

Fig.1
Bodhisattva Avalokiteshvara
Nepal; 13th-14th century
Gilt copper alloy with semiprecious
stone inlay
Rubin Museum of Art
C2005.16.8 (HAR 65430)

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